Forging an original sound in this day and age is probably the toughest obstacle that musicians face. Some are quiet happy to re-hash tried and tested methods to fit in with whatever is current, where as others keep doing what they are doing instead of pushing new territory. Florida natives Torche fall into neither of those categories by way of essentially creating their own sound over the course of the last 10 years that is almost indescribable. The most apt way of labelling Torche would be perhaps “doom-pop”, given their penchant for both heaviness and melody. Following on from the slightly more straightforward leanings of 2012’s ‘Harmonicraft’, Torche are back with a new album, and quite frankly ‘Restarter’ couldn’t be a more fitting name for this record.
The patented “bomb-tuning” guitar sound that Steve Brooks coined in his pre-Torche outfit Floor, sounds heavier than almost anything the band have ever written on opener ‘Annihilation Affair’, and shows the band have cast their eye back to the roots of when they started. ‘Bishop In Arms’ is less slow and droning than its predecessor and combined with Brooks machine-like vocal almost makes Torche sound like ‘Betty’-era Helmet. Even the opening riff of ‘Minions’ could be out of the Page Hamilton playbook of guitar tricks (if such a thing existed). A comparison to the legendary Helmet is no criticism however, and it is refreshing to see such an influence in bands still.
The storming ‘Loose Men’ is a sure-fire head banger that is full of groove and swagger, but this is about as catchy as they get on ‘Restarter. The massive ‘Undone’ follows on, which lays any sceptical thoughts that maybe they are too melodic for a home on Relapse Records now to rest, and shows they can get just as heavy with the best of them. The ear-piercing feedback that soaks ‘No Servants’ is almost numbing, and when it breaks, gives way to monolithic stoner-rock riffs. This leads to the tone in the latter part of the album focusing on the heavier aspect of the quartet’s arsenal with the slow burning ‘Believe It’, and doom-drenched ‘Barrier Hammer’ which see’s Torche at their most crushing. The album ends on the title-track, with the final riff being dragged on for a mesmerizing 8-minutes that is so intoxicating it starts to feel like it is part of your own genetic make up by the time it eventually melts away from your speakers.
If there’s one thing you can always bank on from a Torche record, it is wonderful sense that anything can happen when you go into it. Across their entire catalogue of recorded output no two records have ever sounded the same, and no songs can ever be confused with one another, as each one is remarkably unique in its own way. ‘Restarter’ is certainly no exception to this rule, and given how easy on the ear ‘Harmonicraft’ was, you would be forgiven if you thought they were going to come out with a commercial rock record.
For the casual Torche listener it has inviting melodies and soaring vocals lines, and those seeking thick, thunderous riffs and cavernous drum sounds will also be pleased with ‘Restarter’. It goes to show that you don’t just have to be angry to like this kind of music, and you don’t have to stick to a certain formula through fear of upsetting the ebb and flow of a record, which makes ‘Restarter’ both exciting and unpredictable. Welcome back Torche.
GLEN BUSHELL